Esoteric
Maniacal Vale
It’s nearly impossible to review an oeuvre that pull itself off from order of rationally classified ear which seeks patterns – even musical map – from every exquisite sonic he experiences; yet for me the propensity to review this kind of experience itself is in the line through which the musical understanding burgeons gradually inside and get prepared to be digested within decentralized listening I. Esoteric presents a tough onerous (and to a new non-doomish ear it’s overly inexplicable and imperceptible) music; the one that can use up all your energy and drain your normal psychic vitality, rendering it to distilled vigor and lofty state of anti-humanism; this last album however represents its most matured style in misanthropism beyond anything you’ve heard in the darkest sanctum of funeral doom realm. Maniacal Vale is radical, acrid and laudably beautiful.
/Through Chaos, rationale speaks clearly…/
“Circle” commences dramatically slow and heavy, reminding “Blood of the Eyes”’s serenity with all of the potency which one expects from Esoteric peerless preludes. The lead are both autocratic and serene, specifically from 4’54” when a long solo leads on and fades to a dark space in 6’30” from which with an abeyance the familiar tyrannical part of a song begins to gather all of the light melancholia by maturing Esoterician discordant mood. At 10’30” the circle turns to layered swirling spirals; it’s not just death-metal elements that develop the hateful aura, but both the lyrics and vocal mode render a tremendous level one forgets his inner time within. From 13’40” to the end, it’s ambient style which rules. The circle is a black sun, yet without bland melancholic shadows but with gridelin clouds of fundamental hatred …
/Sporadic thought, spawning its messy web of insanity/
“Beneath this face” epitomizes the very taste of an exceptional abysmal sadness which rarely can be heard from other doom bands; despite that the bitter sentiments raised from this grief seems so urban in lyrics (and even superficial in connotations), the musical halo of the song is so convoluted and well-layered, specifically from the second half of the song to the end which we’re surrounded by the embracing moments of a very profound despondency. Don’t expect melodic ordering! A momentary largo which fairly destroys itself lapsing in crescendo (2’26”) yet in its precocious apogee builds a tall wall of heavy doomish riffs; from there one can behold how the face is tearing its second skin apart to express its baffling innermost. At 10’10”, the song derides your vicarious acting-out, leaving you dangled on the irresistible suspension.
/ As I descend.
Succumbed to the unfathomable/
“Quickening” is beautifully delicate and deadly brutal; deceiving beginners with its slow rhythm and properly energizing an astonishing heavy doom atmosphere. It’s not just about blending hallucinations in the shadows, but also coloring the shadows in grace of aubergine dream. On 7’25” the superb drums bolsters the death-doom riffs; it’s so simple but radically violent on which leans a sober lead (9’13”) which carries on to the end. The ear would be drilled to know how to court the unfathomable.
/Void, Pointless Existence.../
“Caucus of mind” is as disappointingly void as the pointless existence of the harsh rancor it presents from the first. It’s all about hatred and raw feelings of ill-will in absence of any deep emotional insight. And thankfully, as usual, Esoteric offers the flawed act in the shortest track! Good For mindless head-bangers who crave for necking with thunderous senseless hysteria!
/I lift my head. but there is no reason to move/
“Silence” is not easy-listening, though it begins with a very Morgion-like optimistic tranquilizing melody, but at 1’58” it all turned into some sedative funeral-motifs. Riffs are well-cultivated and the context has been enriched by unending interplay between bass and drum while the lead is dancing above with matchless elegance. The song is long and laden by repetitions, but never lets you lose the track of its wondrous plot; you’ll murmur to yourself that this song is the one that repels non-doomish hasty ears, leaving them unrest with its extreme exhausting emphatic extension. As to sentiment, it’s so expressive and enviably desirable for another round of hearkening – but forget about Sartrian lyrics again!
/ Never to be staid in unquestioned days.
But to roam free
Shattering the banal conclusion/
“The Order of Destiny” is truly an avant-garde piece. Free from temptation to tend toward those lame tawdry technomaniac modern-progressive-metal rubbishes, Esoteric takes advantages of dissonant orders – in effect that’s its very characteristic, nonetheless here there’ve been incorporated some jazz-like elements which seem all new to us; for instance at 2’54” a rock-like solo is accompanied with the inharmonious of bass and drum which nearly take us from old-style anti-urban metal world to the modern state of suspended daze. In the second half, the atmosphere suddenly turned to some sort of colorful rapture which unbelievably – yet adorably – is a bit bright for Esoteric; but at any rate, it keeps driving you out of the order of destiny by representing a distorted timing of tones.
/Within eternal twilight I exist.
Excised from the stream of time and being/
“Ignotum Per Ignotius” is truly an extreme joy; it’s the most Esoterician piece of the album: duly cacophonic vocals, heavy layered riffs, astounding dissonant interplays between bass and drum, radically doom (long, heavy, serenely intense), and with an immense world of insights to experience freely. It can’t be analyzed in fragmented parts, since it present a cohesive – and yet structurally changing – world which its only beholders is the ear. It’s my second-best liked piece – after the first track.
Maniacal vale is filled with the familiar Esoterican attitude of post-paranoiac hatred (no matter ontic or ontologic) which only can be grasped when he is immersed in its very strict world; the mood is obstinate as such one who’s more into mercurial kind of music may finds this too tedious and intolerably sophisticated to hang out with. Though as usual the pantosophical lyrics are a bit unappealing, you’ll willingly skip over the verbal flaws when you encounter such recondite regal work. The pain Esoteric casts over your time and body is the precious by which the unreachable beauty discloses itself to you, showing how a patient(?) deserves to be cheered up by the esoteric stygian drinks, cursing the hectic real life, allowing you to get enticed by primordial forces of innermost (if there remains anything at all!), letting you to get near the pure nocturnal side of your forgotten existence.
For Shaafe and Mike
a taste
Maniacal Vale
It’s nearly impossible to review an oeuvre that pull itself off from order of rationally classified ear which seeks patterns – even musical map – from every exquisite sonic he experiences; yet for me the propensity to review this kind of experience itself is in the line through which the musical understanding burgeons gradually inside and get prepared to be digested within decentralized listening I. Esoteric presents a tough onerous (and to a new non-doomish ear it’s overly inexplicable and imperceptible) music; the one that can use up all your energy and drain your normal psychic vitality, rendering it to distilled vigor and lofty state of anti-humanism; this last album however represents its most matured style in misanthropism beyond anything you’ve heard in the darkest sanctum of funeral doom realm. Maniacal Vale is radical, acrid and laudably beautiful.
/Through Chaos, rationale speaks clearly…/
“Circle” commences dramatically slow and heavy, reminding “Blood of the Eyes”’s serenity with all of the potency which one expects from Esoteric peerless preludes. The lead are both autocratic and serene, specifically from 4’54” when a long solo leads on and fades to a dark space in 6’30” from which with an abeyance the familiar tyrannical part of a song begins to gather all of the light melancholia by maturing Esoterician discordant mood. At 10’30” the circle turns to layered swirling spirals; it’s not just death-metal elements that develop the hateful aura, but both the lyrics and vocal mode render a tremendous level one forgets his inner time within. From 13’40” to the end, it’s ambient style which rules. The circle is a black sun, yet without bland melancholic shadows but with gridelin clouds of fundamental hatred …
/Sporadic thought, spawning its messy web of insanity/
“Beneath this face” epitomizes the very taste of an exceptional abysmal sadness which rarely can be heard from other doom bands; despite that the bitter sentiments raised from this grief seems so urban in lyrics (and even superficial in connotations), the musical halo of the song is so convoluted and well-layered, specifically from the second half of the song to the end which we’re surrounded by the embracing moments of a very profound despondency. Don’t expect melodic ordering! A momentary largo which fairly destroys itself lapsing in crescendo (2’26”) yet in its precocious apogee builds a tall wall of heavy doomish riffs; from there one can behold how the face is tearing its second skin apart to express its baffling innermost. At 10’10”, the song derides your vicarious acting-out, leaving you dangled on the irresistible suspension.
/ As I descend.
Succumbed to the unfathomable/
“Quickening” is beautifully delicate and deadly brutal; deceiving beginners with its slow rhythm and properly energizing an astonishing heavy doom atmosphere. It’s not just about blending hallucinations in the shadows, but also coloring the shadows in grace of aubergine dream. On 7’25” the superb drums bolsters the death-doom riffs; it’s so simple but radically violent on which leans a sober lead (9’13”) which carries on to the end. The ear would be drilled to know how to court the unfathomable.
/Void, Pointless Existence.../
“Caucus of mind” is as disappointingly void as the pointless existence of the harsh rancor it presents from the first. It’s all about hatred and raw feelings of ill-will in absence of any deep emotional insight. And thankfully, as usual, Esoteric offers the flawed act in the shortest track! Good For mindless head-bangers who crave for necking with thunderous senseless hysteria!
/I lift my head. but there is no reason to move/
“Silence” is not easy-listening, though it begins with a very Morgion-like optimistic tranquilizing melody, but at 1’58” it all turned into some sedative funeral-motifs. Riffs are well-cultivated and the context has been enriched by unending interplay between bass and drum while the lead is dancing above with matchless elegance. The song is long and laden by repetitions, but never lets you lose the track of its wondrous plot; you’ll murmur to yourself that this song is the one that repels non-doomish hasty ears, leaving them unrest with its extreme exhausting emphatic extension. As to sentiment, it’s so expressive and enviably desirable for another round of hearkening – but forget about Sartrian lyrics again!
/ Never to be staid in unquestioned days.
But to roam free
Shattering the banal conclusion/
“The Order of Destiny” is truly an avant-garde piece. Free from temptation to tend toward those lame tawdry technomaniac modern-progressive-metal rubbishes, Esoteric takes advantages of dissonant orders – in effect that’s its very characteristic, nonetheless here there’ve been incorporated some jazz-like elements which seem all new to us; for instance at 2’54” a rock-like solo is accompanied with the inharmonious of bass and drum which nearly take us from old-style anti-urban metal world to the modern state of suspended daze. In the second half, the atmosphere suddenly turned to some sort of colorful rapture which unbelievably – yet adorably – is a bit bright for Esoteric; but at any rate, it keeps driving you out of the order of destiny by representing a distorted timing of tones.
/Within eternal twilight I exist.
Excised from the stream of time and being/
“Ignotum Per Ignotius” is truly an extreme joy; it’s the most Esoterician piece of the album: duly cacophonic vocals, heavy layered riffs, astounding dissonant interplays between bass and drum, radically doom (long, heavy, serenely intense), and with an immense world of insights to experience freely. It can’t be analyzed in fragmented parts, since it present a cohesive – and yet structurally changing – world which its only beholders is the ear. It’s my second-best liked piece – after the first track.
Maniacal vale is filled with the familiar Esoterican attitude of post-paranoiac hatred (no matter ontic or ontologic) which only can be grasped when he is immersed in its very strict world; the mood is obstinate as such one who’s more into mercurial kind of music may finds this too tedious and intolerably sophisticated to hang out with. Though as usual the pantosophical lyrics are a bit unappealing, you’ll willingly skip over the verbal flaws when you encounter such recondite regal work. The pain Esoteric casts over your time and body is the precious by which the unreachable beauty discloses itself to you, showing how a patient(?) deserves to be cheered up by the esoteric stygian drinks, cursing the hectic real life, allowing you to get enticed by primordial forces of innermost (if there remains anything at all!), letting you to get near the pure nocturnal side of your forgotten existence.
For Shaafe and Mike
a taste
